Jonathan Strange & Mr Norrell, English edition [Englisch] [Taschenbuch]

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Any book touted as the ‘adult Harry Potter’ runs the risk of attracting critical parries from swords of the double-edged variety. If this wasn’t enough, Jonathan Strange & Mr Norrell--the debut novel from Susanna Clarke--also invites comparisons with Jane Austen. Set in the early nineteenth-century, the action moves from genteel drawing rooms—albeit where a mischievous Faerie king sips tea with the wife of a very human government minister, to the bloody battleground of Waterloo, where giant hands of earth drag men to their doom. The juxtaposition of perfectly realised magical worlds and the everyday one with which JK Rowling and Philip Pullman so successfully captured our imaginations and the social comedy of Austen and Thackeray can easily be recognised. But less easy to pastiche is the ability of these writers to induce sheer narrative pleasure, and it is Clarke’s great achievement that she succeeds with this hugely enjoyable read.

Gilbert Norrell is determined to single-handedly rehabilitate his sanitised and patriotic version of English magic, which has suffered a post-Enlightenment neglect after a richly dark history. He ruthlessly secures his place as England’s only magician in two marvellously drawn feats. First, he brings the statutes of York Cathedral to life and then, to facilitate his entry into London society, he brings a young bride-to-be back from the dead--a feat with terrible consequences. However, another more naturally gifted magician—Jonathan Strange—emerges to become his pupil and later his rival. Strange becomes increasingly obsessed with the Raven King—the medieval lord-magician of the North of England and pursues his desire to recruit a fairy servant to the edge of madness. Whilst the differing characters of Norrell and Strange give the book a central human conflict, it is the tension between the dual natures of civilised and wilder magic that lends it a metaphysical texture that shades the narrative with wonderful and troubling descriptions of ships made of rain, paths between mirrors and faerie roads leading out of England to a bleak yet dazzling realm. Fortunately, the precision of her storytelling never reigns in Clarke’s prodigious imagination.

Clarke’s broad canvas of characters—including Wellington, Napoleon and Bryon, locations and tones are masterfully realised. However, sometimes her own enchantment with them leads her to drop her pace, although even at almost 800 pages, this is a book to which you’ll muster up little resistance. Jonathan Strange & Mr Norrell is the perfect novel to take up residence in as the nights get longer. -- Fiona Buckland -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

It's 1808 and that Corsican upstart Napoleon is battering the English army and navy. Enter Mr. Norrell, a fusty but ambitious scholar from the Yorkshire countryside and the first practical magician in hundreds of years. What better way to demonstrate his revival of British magic than to change the course of the Napoleonic wars? Susanna Clarke's ingenious first novel, Jonathan Strange & Mr. Norrell, has the cleverness and lightness of touch of the Harry Potter series, but is less a fairy tale of good versus evil than a fantastic comedy of manners, complete with elaborate false footnotes, occasional period spellings, and a dense, lively mythology teeming beneath the narrative. Mr. Norrell moves to London to establish his influence in government circles, devising such powerful illusions as an 11-day blockade of French ports by English ships fabricated from rainwater. But however skillful his magic, his vanity provides an Achilles heel, and the differing ambitions of his more glamorous apprentice, Jonathan Strange, threaten to topple all that Mr. Norrell has achieved. A sparkling debut from Susanna Clarke--and it's not all fairy dust. --Regina Marler -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

*Starred Review* It's surprising that this first novel works at all. Readers have to accept an especially fanciful premise but, as it quickly becomes obvious, acceptance presents no difficulty. This novel took 10 years to research and write, according to publicity material; for readers at least, the author's arduous task results in a smashing success--it's an exceptionally compelling, brilliantly creative, and historically fine-tuned piece of work. The brilliance of the novel lies in how Clarke so completely and believably creates a world within a world: the "outside" world being early-nineteenth-century England, as Napoleon the eagle looms over all of Europe; the "inner" world being the community of English magicians. At the story's outset, magic in the land is moribund; magicians, who convene in various convocations, "did not want to see magic done; they only wished to read about it in books." But circumstances arise that cause magic again to become manifest, not simply discussed as an academic subject; this resurrection has extensive consequences for the heretofore stately state of magic in the English realm. History and fantasy form a beautiful partnership in this detailed, authentic, and heartfelt novel, which is part fairy tale and part epic. The inner world it creates is completely furnished and credible; the outside world is exact in its accuracy. Written in a style correlative to the writing and speaking of the time, which the reader will come to find quite mellifluous, this novel is, in a word, charming. Comparisons to Harry Potter are inevitable but not distracting, for this novel stands on its own. Brad Hooper
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

Adult/High School - This delightful first novel exerts a strong and seductive pull on readers who might otherwise balk at its length. Like Philip Pullman's work, it is dark, deep, and challenging. It compares dead-on with Jane Austen's novels, and YAs who have underappreciated her wit may find it delicious when applied to magicians. Clarke even tosses in a bit of Dickens and Hardy - with great characterization, subplots, and a sense of fate bearing down hard on us. At stake is the future of English magic, which has nearly dwindled to all theory by the early 1800s, after centuries of prominence. When the book opens, only the reclusive and jealous Gilbert Norrell is practicing. Enter Jonathan Strange, a natural who has never studied magic formally. Norrell resents, then adopts Strange as a pupil whose growth he insists on controlling until the two come to the impasse that nearly leads them to destroy one another. Strange champions the 12th century's "Raven King" as the greatest magician in English history and hopes to summon him from Faerie, an alternate world. Norrell is determined to erase both from English memory - to hide the fact that he himself made a bargain with a fairy that has cost three people their lives, though their hearts go on dismally beating. Expertly written and imagined, the book is a feast for fans of fantasy, historical novels, or simply fabulously engrossing reads. - Emily Lloyd, formerly at Rehoboth Beach Public Library, DE
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

Einst - als Magie in England etwas ganz Selbstverständliches war - war der Rabenkönig der größte aller Zauberer. Anfang des 19. Jahrhunderts ist er nur noch eine Legende. Kein Mensch glaubt mehr an Magie! Doch eines Tages bewirkt der eher zurückgezogen lebende Mr. Norell, dass die Statuen in der Kathedrale zu sprechen beginnen ...

Ein neues Kapitel englischer Magie nimmt seinen Anfang.